Palma Louca is a relatively new five piece gaze-rock quintet from England.
Getting together last year Palma Louca released their début single – Disparity – last week.
The deployment of three six string guitars could lead to an anticipation of volume and ferocity though such thoughts would be heading in to the wrong direction altogether as even with the addition of bass and percussion and volume turned up as far as it will advance the speakers merely ripple as Palma Louca deliver their mesmerising compositions.
Disparity winds through the room in beguiling flows of interweaving guitars that filter through the ears as though an apparition, discernible yet intangible, and no matter which set of dynamic range is set on the amplifier the notes and chords will always dissipate just out of reach. The bass and percussion afford the song its shaded outline while an echoed vocal floats in its own misty gauze.
For now, if you happen to be in and around Newcastle Upon Tyne I suggest spending time in their company as they appear sporadically on-stage – to be a memory to relay in the years to come as by then, if justice be served, the international stadium tickets will not only be too pricey but also too inaccessible.
The English indie-rock quartet Mellor release the single Arms Length on the 16th of February.
Mellor – photo by Neil Wheeler
In what seems to be becoming a tradition of one feature about Mellor during the course of the calendar year, first in 2016, next in 2017 and now in 2018 as news arrives of a new release, will this change, I wonder?
Either way, always a delight to hear new music by Mellor and a pleasure to be able to feature Arms Length.
The sprightly sounds dance around the room on the back of tautly strung drum-skin, that rebounds as sharply as a pinball rubber, infecting the room with a sense of movement while guitars perform interweaving choreography as the bass tempts the listener on to the floor to join in with the track, while vocal, like a flamboyant orchestra conductor, sweeps flourishes of intonation to the composition, which resultingly much like their musical personalities and stage performances, leaves the audience smiling broadly with eyes twinkling in delight.
The English sadcore duo Betty Pulls A Fast One are scheduling the release of the LP – Dressed In Birds – for February.
Betty Pulls A Fast One
There is a skill required to be able to create music which is so dour of countenance that rather than attending the regular funerals of an ever dwindling audience as a result of self-inflicted injuries whilst listening to the compositions – musicians find themselves with an expanding following who immerse themselves in the the brooding darkness finding a cohesive catharsis in the material and Betty Pulls A Fast One, who have regularly featured on numerous occasions since their introduction in 2016, are one such duo.
Those of longer stay, or who click the link to the initial introduction will discover Dressed In Birds was first scheduled for release last year. I am more hopeful that the appearance of the title track with its minor chords progression does signify the album’s imminent arrival.
An intriguing combination of three guitars, bass, drums, vocals and synth allows TrueHeights to deliver music which, whilst derived in metal also has a foot firmly anchored in indie dance, enabling them to create tunes with a distinctive point of difference.
The first song to appear from the EP, which is also the first of the five tracks on Days We Found, is Exit Route.
With material dating back to 2016, each of different iteration, there is always an undercurrent of melancholia which sweeps through the room on taking a listen to the back-catalogue and when one starts to explore so the further one wishes to delve in the wistful tones of music.
A couple of tunes surfaced on the 3rd and serving as an introduction to a band I look forward to hearing more from in due course – the keys led Silver Ashtray.